ed wrote:there was a puddle under bella's spike, she swears it wasn't her but we have our suspicions........
smashing!
Bella pee'd herself laughing?
Nick wrote:
It did, very nicely, nice set of shapes. You should write the chords down and PM me a copy
All I was thinking was I could hear the bass line you would have been playing alongside those chords if you have the fingers free.
Ta. Chord sequence is a standard 'jazzy' take on the dah blooze innit, nothing new. It's in 'C', so the Harp plays in F but he also swaps to a Bb halfway through.
Intro starts on the m2nd -> dom5th then m3rd -> m6th then into a standard I IV I IV I then a II V I turnaround. Its easier to play and show rather than explain! There's a couple of chromatic descending chords too that are (I think) tri-tone substitutions, they just work... I'll record the chords and a walking bass part if you like. I've got an old Boss 'Loop Station' pedal that I can record a chord sequence on then loop for ever and ever and ever and ever, its good for practising to.
<gulps> TBH I dunno if my grip on the theory is good enough to teach to someone else but I'll record and play examples if it helps, no probs.
The descending chromatics are all dom7 chords. In this case C7->B7->Bb7->A7 on the change from the I to the IV chord but i throw in ('ark at him!) other 7th chords on changes between the I and IV chords too.
TBH, like most music it's just summat you do without thinking after a while. If I had to think about it I'd fall flat on me face. Lot of similarities with skateboarding there...
...oooooooooohhhh.... if we had Phil Collens super duper interweb Jammng app we could form all star bands and practise chord sequences and solo's every lunchtime ......
I've got an early version of the RC20 which had IIRC 12mins total of record time which is split into 11 'tracks' or phrases. Its simple to use and the old early versions like this still go for not too daft money.
I use it a lot for setting up a groove or track to play over. You can over dub to your hearts content. Quality of the loop replay is pretty good. It makes a very handy practise tool. Mines well used as you can see
The latest version adds a load of tatt that bumps up the price and on the whole you probably wouldn't use.
Nick wrote:I was just looking at such a thing as you mentioned it (and you mentioned it before as well). What does the two channel part of it add to the mix?
Independent volume control of 2 samples/loops/sounds I think. Fella here explains it here at about 4.30 onwards ->
My RC20 is the 1st version (I think) that came out and it'll let you over dub sound on sound on sound forever but once its recorded you can't independently control the volume of each layer.
I use it purely for practising/woodsheding/working out ideas and also as a note pad to jot down musical ideas when I get the 'muse' or an idea I want to save for later.
It remembers your loops after you shut the power off which is great so you can come back to ideas later when you're ready to make musical history and change the face of popular music or summat...etc etc etc etc
If it's any use, that behringer interface that I was banging on about is bundled with a studio recorder(infinite number of tracks) called energy...
it is to sonar/cubase/protools what audacity is to wavelab..i.e nine tenths of everything for nothing...
playing over, under, beside is what it's all about
£20
Problem is (not insurmounatble) is the room where guitar playing happens is not the same place where computer stuff happens. And in some way its good like that. I just know two much 'puter added to the guitar playing would be a distraction.
Whenever an honest man discovers that he's mistaken, he will either cease to be mistaken or he will cease to be honest.
